The dramatic author works with words more easily, writes with flow, and analyzes character, situation, events, behavior, and style in his or her own language. Everything that has been written so far about the art and craftsmanship of acting has been written by dramatic authors or critics: this is the reason for the scarcity of actually printed books that explain and explain the actor to himself and to those working with him in acting.This is why Talma, Faye Kemble, and Coquillen, and among the moderns Lewis Calvert and Stanislavsky, stand out as actors who attempted to analyze the art of acting. However, Stanislavsky''s wonderful contribution in this field overlaps with his biography in the book "My Artistic Life." As for all the rest, it is, in general, an attempt to create a philosophy of acting rather than to analyze the elements of the art of acting or to establish literal rules for the actor. Is it necessary for an actor to have gone through an emotional experience to be able to portray it? Can he portray it better if he actually renews the feeling of it every time he performs it? Does this entail that acting becomes as far removed from life as possible, or as close to it as possible? These are the problems that these philosophical actors are working to solve. Their writings, including examples drawn from their fine experiences, were able to shed great light on this field.
